Comments for James Gassonhttps://jamesgasson.wordpress.com
Confessions Of A Sound EngineerMon, 12 Feb 2018 14:34:20 +0000hourly1http://wordpress.com/Comment on Crushed To Hell: My Thoughts About Mastering by James Gassonhttps://jamesgasson.wordpress.com/2017/02/23/crushed-to-hell-my-thoughts-about-mastering/#comment-192
Mon, 12 Feb 2018 14:34:20 +0000http://jamesgasson.wordpress.com/?p=282#comment-192That’s the douchiest comment I’ve ever read. When you’ve learned how to form a coherent sentence, come back to me and maybe I’ll understand what point you think you’re making.
]]>Comment on Crushed To Hell: My Thoughts About Mastering by Jasonhttps://jamesgasson.wordpress.com/2017/02/23/crushed-to-hell-my-thoughts-about-mastering/#comment-191
Mon, 12 Feb 2018 14:21:19 +0000http://jamesgasson.wordpress.com/?p=282#comment-191When you’re signed to a major label because of the strength of your songwriting or sell out shows at arenas and stadiums and/or hired by a major label to be part of an already big name artist’s or songwriter’s studio production team, come back to me and re-read your own article.
]]>Comment on MOTU??! Urrgh… *Real* Sound Engineers Only Use Prism Converters, Dontcha Know? Hiffle, piffle, plip and wank. by James Gassonhttps://jamesgasson.wordpress.com/2017/12/22/motu-urrgh-real-sound-engineers-only-use-prism-converters-dontcha-know-hiffle-piffle-plip-and-wank/#comment-183
Fri, 12 Jan 2018 16:03:27 +0000http://jamesgasson.wordpress.com/?p=296#comment-183Thank you so much for your comment! I really appreciate you taking the time to tell me that.

As for the Steve connection — it’s not difficult to set up a session with him. All you need to do is go here: http://www.electricalaudio.com. It’s an awesome studio staffed by very welcoming people.

]]>Comment on MOTU??! Urrgh… *Real* Sound Engineers Only Use Prism Converters, Dontcha Know? Hiffle, piffle, plip and wank. by ilead2015https://jamesgasson.wordpress.com/2017/12/22/motu-urrgh-real-sound-engineers-only-use-prism-converters-dontcha-know-hiffle-piffle-plip-and-wank/#comment-181
Thu, 11 Jan 2018 23:50:58 +0000http://jamesgasson.wordpress.com/?p=296#comment-181Thank you, James.. for adding yours to the one, great, Voice of Reason!!!
As a drummer and percussionist myself, and being new to the field/endeavour of sound engineering, with a particular emphasis on full kit drums & other percussion instruments of the world, I find your voice to resonate more truthfully, and thoroughly, to my ears, at least, than many others I’ve encountered in my year, or so of enquiry and searching to date.
If I may ask, I’m curious to know more about how you came to connect with Steve Albini, in such in-depth, and thoroughly detailed manner in order to complete your most excellent documentary how-to video, replete with Steve’s hyper-detailed running account of the set-up, gear evaluation/selection, tips, etc… capturing gem after gem after gem of his priceless knowledge, experience and thoughtful insight?
]]>Comment on Comb Filtering In Drum Overhead Microphones by Chris Jacobiehttps://jamesgasson.wordpress.com/2015/03/22/comb-filtering-in-drum-overhead-microphones/#comment-102
Thu, 14 Apr 2016 13:57:14 +0000http://jamesgasson.wordpress.com/?p=247#comment-102I don’t have any but I’ve been thinking about getting a pair to use for that situation or at least as “far room” mic’s in a small room situation. The tricky part is that they need to be on a hard surface and generally the thought is to go absorptive over the drums. If you have a pair, and the time, of course, I’d love to see a demo video!

Thanks!

Chris

]]>Comment on Comb Filtering In Drum Overhead Microphones by James Gassonhttps://jamesgasson.wordpress.com/2015/03/22/comb-filtering-in-drum-overhead-microphones/#comment-101
Thu, 14 Apr 2016 11:01:37 +0000http://jamesgasson.wordpress.com/?p=247#comment-101I actually haven’t but I would be very curious to!
]]>Comment on Comb Filtering In Drum Overhead Microphones by Chris Jacobiehttps://jamesgasson.wordpress.com/2015/03/22/comb-filtering-in-drum-overhead-microphones/#comment-100
Thu, 14 Apr 2016 04:07:28 +0000http://jamesgasson.wordpress.com/?p=247#comment-100Cool video! Have you ever tried a PZM for this situation. Wonder how that would fare?
]]>Comment on The Bullshittery Of Audio Jargon by Sound Spinninghttps://jamesgasson.wordpress.com/2015/09/17/the-bullshittery-of-audio-jargon/#comment-70
Thu, 17 Sep 2015 16:22:55 +0000http://jamesgasson.wordpress.com/?p=277#comment-70Nicely put, I couldn’t agree more! “real scientific analysis” is the only way, or common sense; i.e. something proved through experience to be true.
]]>Comment on Drum Miking Techniques by James Gassonhttps://jamesgasson.wordpress.com/2012/07/04/drum-miking-techniques/#comment-69
Thu, 17 Sep 2015 13:13:17 +0000http://jamesgasson.wordpress.com/?p=59#comment-69M/S works by phase cancellation between the two microphones across the left-right spectrum. Ideally you would want the exact same capsules occupying the exact same physical space, differing only in orientation. Since this is actually impossible in the real world, it is therefore recommended that you use the same make and model of microphone, preferably a “matched pair” (although the jury is out on the actual efficacy of a “matched pair”, but for argument’s sake we’ll go with it), with their capsules aligned as closely as possible. My favourite mics for M/S recording are AKG C414s: rich and full-bodied microphones that are not too harsh in the top end. I tend to use a matched pair of these, with the mid microphone set to cardioid and the side microphone set to figure-8.
]]>Comment on Binaural Recording by Sound Spinninghttps://jamesgasson.wordpress.com/2014/11/15/binaural-recording/#comment-56
Mon, 15 Jun 2015 14:46:36 +0000http://jamesgasson.wordpress.com/?p=184#comment-56Another great post. I’ve been recently doing some acoustics research on this matter. It always struck me that most audio papers, etc on the subject talk about the Haas effects (ILD + delay on the opposite ear of the source). However, head masking must be frequency dependant, more attenuation at high freqs vs low ones; i.e. there is an EQ curve on the way.
So, I found some extensive research data on HRTF recordings made public in the 90’s by the MIT, ftp://sound.media.mit.edu/pub/Data/KEMAR. I then wrote some software to calculate the corresponding EQ curves left to right for all elevation and azimuth recordings. I was interested in the case of the source being hard right and the attenuation via an EQ curve on the opposite channel on a copy with a delay (ILD part). Only just started testing it on some mixes (guitars mainly) and results are interesting even on speakers. It interested I can send you some of my calculated HRTF EQ curves and see what you think.
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